ISBN: 978-0-9955893-1-5
VOLUME 2 08.09 – 05.11
b INTRODUCTION
At the outset, we thought that Ambika P3 might just be a temporary In order to achieve our initial aim, and our mandate, we divided the of Frieze and being ‘off-Frieze’; with the Photographers Gallery project. We planned ahead for three years. This project was to bring “I want to congratulate the annual calendar into three categories – external commercial lets, to host the installation of three finalists in the Deutchebank Prize. disused space back into use, after 10 years of being mothballed. We internal events, and self-generated or partnered public exhibitions. We continued our partnership with Kinetica attracting huge varied intended it to be used in a productive and creative way – it was to be University of Westminster The first earned an income to cover our running costs, the second audiences to their varied programme – part art-fair part festival of sustainable in economic terms, and not a drain on the university’s saved the university the cost of hiring external spaces, and the events. The boundaries blurred between our own curated projects, resources. for adding to the repertoire third to promote our exhibitions and generate a high level of critical and those developed by others, and the events brought to us by the acclaim to support the university’s reputation. The whole would commercial sector. This tri-partite relationship between commercial, By the end of the first three years we had achieved success provide links to London’s burgeoning creative economy of the art and academic and the work of artists, and it’s resultant synergy, is a recognised by Sir Nicholas Serota in his opening remarks for the of spaces in London in design worlds, where many of our graduates will find work. cornerstone of Ambika P3 ambition. Jannis Kounellis exhibition in April 2010 in which he said this magnificent way, and By year 3, it was clear that we had a major success on our hands, During this exceptionally diverse programme we developed new and we started to plan more than three years ahead. From 2009 and interesting projects within the university. The degree shows, it really is incredible what to 2011 we established our reputation as a sought-after venue for undergraduate and post-graduate, continued to be high-lights in Fashion Show where famous faces such as Anna Wintour, Samantha their university experience. First Year Architecture showed what an you’ve been able to do here Cameron, or Kate Moss were snapped by the paparazzi. In the art inventive programme can produce after just one term of a seven year world we partnered Niccolo Sprovieri in a new installation by Arte education. Land Architecture People (LAP) was the exhibition that already. But this show I think Povera legend Jannis Kounellis; we paid homage to Peter Kardia as resulted from a collaboration of two architects and an anthropologist a great teacher who selected an early work and a late from each of beautifully composed with various classic design tools of an architect demonstrates what potential 34 former students including Richard Long, Alison Wilding, Richard – drawing, model making, table top layouts. Deacon, Bill Woodrow, and Richard Wentworth, with our own curator Michael Mazière. In collaboration with Sprüth Magers, Anthony As ever the extraordinary qualities of the space known as Ambika this space has for the future, McCall Light Works developed an entirely different kind of projection P3, was an inspiration to all who visited, and they came in their appearing as vertical cones of light – mesmerising to all who came numbers. The creative eye of the artist, designer, architect and so thank you.” and lay on the floor enclosed by light in an ephemeral Architecture. curator brought new ideas, insights, usage and audiences. The In both areas we had become known in London and internationally, space and the activities it supported had become part of the for the diverse range of high class events. We commissioned new London’s Cultural Offer, and the future held promise for much more. work from David Ward entitled Rink choreographed moving light video project onto the floor as if made by an ice skater. Katharine Heron Director, Ambika P3 In this period we made new and valued external partnerships with the Photographers Gallery; Open City and their workshops for young people; Dance Umbrella who built an installation to act as an armature to a new dance piece; with the Sunday Art Fair who followed Limoncello as young gallerists showing at the time
2 VOLUME TWO
SEPTEMBER 2009 MAY 2011
4 Curating is not so much the product of curators as it is the fruit of the labour of a network of agents. The curatorial involves not just representing but presenting and testing; it performs something here and now instead of merely mapping something from there and then. 1 COLLABORATIONS AND PARTNERSHIPS AT AMBIKA P3
A substantial part of the exhibition programme at Ambika P3 Large visual arts partnerships such as hosting of the has been developed through a variety of partnerships. From the Photographer’s Gallery Deutsche Börse Photography Prize (2011) outset Ambika P3’s has been open to proposals and actively provided both a new audience for Ambika P3 but also the context sought individuals and organisations to collaborate with from for a 3 day conference ‘Exhibiting Photography’ organised by our inside and outside the University of Westminster. Each of these Centre for Research and Education in Arts and Media (CREAM). relationships has been unique and tailor made to suit the projects This brought together international speakers to examine the involved. From simply providing the space to advising, producing curation and display of photography and the on-going obsession and co-curating, the degrees of co-operation have been broad with photographic specificity in the art world. and flexible. When Artangel proposed to stage Heiner Goebbels Stifter’s Dinge (2008) very soon after our launch we were keen The Jannis Kounellis (2010) exhibition engaged with the space to host such an experienced and prestigious organisation and through a vast site specific commission and was delivered simply oversee the management of the space. The result was through a different type of collaboration – that of partnering with stunning and became a yardstick by which we would measure our a commercial gallery. Working with the Sprovieri Gallery we were own accomplishments in the space. It worked so well that they able to present a major exhibition of the artist on a scale and in returned with an expanded version of the piece in 2012 – staging an environment which suited his work. This vast new installation it as both an installation and a performance. made of coal, metal and glass was commissioned specially for Ambika P3 and funded by Sprovieri Gallery. It was Kounelllis’ Other forms of collaboration have been of a nurturing nature, first public gallery exhibition in the UK since 1982. This form of incubating projects such as the first Kinetica and Sunday Art partnership with commercial galleries was to become a future Fair exhibitions. In these events we facilitated the development model, leading to new commissions by Anthony McCall with of the projects by initially providing advice and consultation with Sprüth Magers Gallery (2011) and Chantal Akerman with Marian the space at no cost until these yearly events took on their own Goodman Gallery (2015). identity and volition and became part of our commercial portfolio. This allowed these alternative and more adventurous projects time to consolidate both their financial and cultural strategies.
above: Alison Wilding installing her works for From Floor to Sky 6 below: Heiner Goebbels rehearsing Stifter’s Dinge Another engaged form of partnerships, here with an artist led Kardia’s methodological processes as a form of living case project involved further exploration in the curatorial, production study which re-established some of the dynamic of the original and installation of exhibitions. The exhibition From Floor To Sky, pedagogic relationships. The curatorial responsibilities were British Sculpture and The Studio Experience (2010) was brought shared across the artists, the curators and, to some extent, the to our attention by one of the participating artists Roderick Coyne. participating audience, who had to navigate an exhibition that This was a group interdisciplinary exhibition which included offered, not a fixed history, but a series of possibilities and new new and historical work by 28 key British artists to examine the links between practices, influence, history and creativity. influence of their teacher Peter Kardia. This project tested the limits of collective participation in the curatorial process with an These selected examples of Ambika P3’s diverse and flexible open form of collective curation involving Kardia, myself as the partnerships were developed through both opportunity and Ambika P3 curator and the participating artists. All three parties planning and delivered innovative and immersive exhibitions where would engage in the design and selection of the works of the space, site, material and collaboration operated as a matrix to be exhibition in a series of regular workshops and meetings which explored and tested. were held weekly over a period of months. 1. Lind, M. (2009) ‘On the curatorial’, Art Forum, October, pp. 15-16. The process of producing an exhibition is usually divided into clear areas of commission & curation, design, production, delivery, Dr Michael Mazière installation and exhibition. In the case of Floor to Sky, barriers Curator Ambika P3 broke down, categories collapsed and many of these activities ran in parallel and overlapped in a way which challenged the hegemony of curatorial practice. The boundaries between studio and gallery where also blurred as artists started producing and left: Peter Kardia leading a discussion of the exhibition From Floor to Sky experimenting with works in situ. The exhibition resulted in both right: Richard Wentworth installing his work for Floor to Sky the staging of new and historical works, but also of reinvigorating
8 VOLUME TWO
2009 2010 2011
INTRODUCTION OPEN CITY DAVID WARD - RINK, A MAG, LAUNCH PS3 KINETICA SELECTED PRESS KATHARINE HERON 12 SKATING DRAWING FLOOR MASSIVE ACTION GAME 102 120 2 28 50 MA PHOTOGRAPHIC ANTHONY MCCALL ACKNOWLEDGEMENTS COLLABORATIONS STUDIES WAR GAMES LAUNCH VAUXHALL ICE SKATE VERTICAL WORKS 126 AND PARTNERSHIPS 14 CALL OF DUTY: MODERN 52 104 AT AMBIKA P3 WARFARE 2 MICHAEL MAZIÈRE MA PHOTOJOURNALISM 40 KINETICA DEUTSCHE BÖRSE 6 16 54 PHOTOGRAPHY PRIZE WAREHOUSE LAUNCH 112 FASHION WEEK - TOPSHOP 42 FROM FLOOR TO SKY 18 BRITISH SCULPTURE AND EXHIBITING FIRST YEAR THE STUDIO EXPERIENCE PHOTOGRAPHY DIESEL U MUSIC WORLD ARCHITECTURE 56 116 TOUR PARTY 44 20 JANNIS KOUNELLIS MEDIA, ARTS AND SUSTAINABILITY: 3RD 68 DESIGN DEGREE SHOWS SONY ERICSSON SATIO ANNUAL WESTPHOTO 118 LAUNCH PARTY PHOTOGRAPHY PRIZE MEDIA, ARTS AND DESIGN 22 46 DEGREE SHOWS 82 DANCE UMBRELLA CABANE BY PAUL-ANDRÉ LAND ARCHITECTURE FORTIER PEOPLE 24 84
MA PHOTOGRAPHIC STUDIES 90
SUNDAY ART FAIR 92
TERRY FLAXTON 94
10 N A J B E F R A M R P A AY M
2009 N U J L U J G U A
26 – 27.08.09 Open City
04 – 10.09.09 MA Photographic Studies
11 – 15.09.09 P E S MA Photojournalism
20 – 21.09.09 Fashion Week – Topshop 01.10.09 Diesel U Music World Tour Party 07.10.09 Sony Ericsson Satio Launch Party
11.10.09 T C O Dance Umbrella Cabane by Paul-André Fortier
10.11.09 War Games Launch Call of Duty: Modern Warfare 2 V O N 04 – 22.11.09 David Ward – Rink, A Skating Drawing Floor
25.11.09 Warehouse Launch C E D
12 16 – 20.12.09 Sustainability: 3rd Annual westPHOTO Photography Prize 26.08.09
OPEN CITY 2009
Open City celebrates all that is best about the capital’s buildings, places and neighbourhoods. A summer school programme designed for young people in August provided a unique opportunity to get out and under the skin of London’s amazing architecture, with over 700 buildings of all kinds opening their doors to everyone – all for free.
14 04.09.09
An independently curated graduate exhibition of the Master MA PHOTOGRAPHY of Arts of Photographic Studies.
16 11.09.09
MA PHOTOJOURNALISM
A Graduate exhibition titled ‘Off the Page’ featured the work of 23 emerging photojournalists showcasing a diverse series of projects from around the UK and abroad.
18 20.09.09
FASHION WEEK TOPSHOP
20 01.10.09
Diesel, hosted the London leg of the Diesel:U:Music World Tour. Including New York’s The Terror Pigeon Dance Revolt!, HEARTSREVOLUTION as well as Japan’s own Amwe. DJs includes UK funky DIESEL LAUNCH pioneers Crazy Cousinz and dubstep giants Joker & MC Nomad with Nadia Ksaiba and Captain Magic.
22 07.10.09
SONY ERICSSON
The event gathered a collective of music producers – Goldie, Layo & Bushwacka!, Sister Bliss & Tom Middleton, teamed them with Kano, Scroobius Pip, Ms Dynamite & Booty Luv. Support from The Bays and The Heritage Orchestra, with visuals provided by DJ Yoda who mixed footage provided by Academy Award winning film Director Andrea Arnold shot on the new Satio handset.
24 11.10.09
DANCE UMBRELLA
Cabane by Paul-André Fortier The trio of dancer and choreographer Paul-André Fortier, visual artist /writer/performer/ musician Rober Racine and filmmaker Robert Morin came together for Cabane. The shack in question is a real, portable and readily convertible hut. It is a world unto itself – a shelter, a workshop, a screen or perhaps a mausoleum – enmeshed in spaces strongly evocative of luxury, poverty and artifice. A work that is part in situ performance and part installation art that journeys in unusual places such as an indoor parking lot or a ballroom.
26 04.11.09
DAVID WARD
28 RINK, A SKATING DRAWING FLOOR
The artist David Ward was commissioned by Ambika P3 for to the drawing that ice skaters make on the horizontal plane this new work which transformed the floor of P3 into a huge of the ice rink. The abstract imagery of RINK partly originated light drawing: photographically from unique photograms, and also includes linear images from scientific sources, such as astronomy and ‘RINK is about our relationship to the ground – the vertical body the beautiful lines generated by particle collisions in the study in relation to the horizontal plane – and the passing of time. It of Particle Physics. Still further elements derive from sources as is a work in which the floor plane becomes a screen illuminated varied as curlicues from a Dürer woodcut and notations from figure by projected light, like taking the cinema screen and rotating it skating instructions and diagrams.’ David Ward through 90 degrees and inviting the viewer to step, physically, onto that surface. David Ward Initially a painter, David Ward ’s work draws on a range of media As visitors entered P3 they came first to a projection of a black including painting, photography, light and performance and and white negative image of Sir Henry Raeburn’s painting The he has worked extensively with choreographers and architects. Reverend Robert Walker Skating on Duddingston Loch. This He has exhibited widely in the UK, across Europe and in the negative image was first shown in 1991 and the painting itself USA. He was Visiting Artist at Harvard University, Artist in really started off the idea of skating as a performative way of Residence at King’s College, Cambridge and a research fellow at drawing. Raeburn’s method of representing the lines engraved the Henry Moore Institute. His works in relation to architecture on the ice by the skates is very physical and visceral but the and performance include Chorus, Royal Festival Hall; Weight & beauty of the painting lies in the experience of the figure always Measure, Sir John Soane’s Museum; Bird Song, with Siobhan being in the act of passing by – always about to leave the frame, Davies Dance, Linbury Studio, Royal Opera House and he held in a perpetual glide. exhibited in Filmperformance at Modern Art Oxford. In 2007 his exhibition Orinoco with Richard Deacon, was held at the New RINK was some thirty metres long, illuminated by a constantly Art Centre, Wiltshire. His solo exhibition Slow Time was shown changing, twenty-one minute, looped cycle of light-drawings at the John Hansard Gallery, Southampton and Kettle’s Yard, projected down onto the floor from high up in the roof of Cambridge in 2008-09. the space. The imagery of these projections was subject to continuous shifts: fades, cross fades and the movement of lines Supported with Video Design and Installation by Sam Collins. drawing themselves across the floor. This linear activity related
30 32 34 36 38 10.11.09
WAR GAMES LAUNCH CALL OF DUTY: MODERN WARFARE 2
40 25.11.09
WAREHOUSE LAUNCH
42 07.12.09
1ST YEAR ARCHITECTURE In a project reminiscent of the Surrealists invention called Exquisite Corpse, or the Children’s drawing game of ‘Heads Bodies and Legs’, Natalie Newey and the first year tutorial team devised a two week workshop and exhibition. Students were asked to work in small groups, and to work with an abandoned piece of furniture. The item of furniture was to be cut up and reassembled, exchanging parts with another group’s dismembered furniture, and to make a new hybrid item. At critical stages, drawings were made to explain the process, and this provided a vehicle to learn how to make measured drawings and reduce them to scaled plan and section. The resultant exhibition of items of new furniture and drawings, marked the end of the first term in the first year of architecture study.
44 16.12.09
SUSTAINABILITY: 3RD ANNUAL WESTPHOTO PHOTOGRAPHY PRIZE
The photography competition on the theme of Sustainability was open to students both past and present at the University of Westminster. On display were the forty shortlisted photographers and the winners from this years’ competition. Including a sound installation of recycled 46 Casio SK-1 keyboards by Moshi Honen. N A J
20.01.10 MAG, Launch PS3 Massive Action Game 28.01.10 Vauxhall Ice Skate 04 – 07.02.10 Kinetica B E F R A M 05.03 – 04.04.10 From Floor To Sky British Sculpture and the Studio Experience R P A
06.04 –30.05.10 Kounellis 6 April – 30 May 2010 AY M
02.06.2010 Fashion Design BA Honours 09 – 10.06.2010 Mixed Media Fine Art BA Honours N U J 2010 14 – 16.06.2010 Graphic Information Design BA Honours & Illustration BA Honours 18.06 – 31.07.2010 Land Architecture People L U J G U A
03 – 07.09.10 MA Photographic Studies 11 – 14.09.10 P E S MA Photojournalism
13 – 17.10.10 T C O Sunday Art Fair V O N
19 – 24.11.10 WestPhoto Prize C E D 06 – 21.12.10 Terry Flaxton 48 20.01.10
Launch of MAG, a multiplayer-only first-person shooter video game MAG, LAUNCH developed by Zipper Interactive for the PlayStation 3. The game used a server architecture to support online battles with up to 256 players, PS3 MASSIVE with users divided into eight-player squads, with four squads forming a platoon, and four platoons forming ACTION GAME a company.
50 28.01.10
VAUXHALL ICE SKATE London’s Vauxhall Ice Skate winter event with the Caraoke Corsa and designed by illustrator Si Scott. 04.02.10
The annual Kinetica Art Fair may be likened to the great international exhibitions of the Victorian era, which combined the arts, science and technology in an entertaining mix. In 2010 there were 25 galleries and organisations specialising in kinetic, electronic and new media art taking part and over 150 artists exhibiting. It provided collectors, curators and the public with a unique opportunity to view and purchase artworks from leading contemporary arts organisations and artists specialising in kinetic, electronic, robotic, light, sound, time-based and interdisciplinary new media art.
KINETICA
54 05.03.10
Peter Kardia, he was so good we didn’t need anyone else. Richard Long FROM FLOOR TO SKY
56 BRITISH SCULPTURE MORE TEXT AND THE STUDIO EXPERIENCE
An exhibition which brought together early and recent work by Peter Kardia studied for three years in the Sculpture School at the key British artists of our time to celebrate the influential teacher Slade under Professor Gerrard during the 1950s. In this period he Peter Kardia who is widely recognised for his work as a radical met Henry Moore who made periodic visits to the Slade. When he and pioneering teacher at both Saint Martins and the Royal completed his course he was invited by Moore to work as a studio College of Art during the 60s and 70s. All 28 artists in this assistant at Perry Green, near Much Hadham. From 1964 he exhibition were former students and each contributed two pieces worked on a full-time basis at St Martin’s to coordinate the studies of work, one from the earliest period of their career and one between Painting and Sculpture for the first year. Subsequently he contemporary piece. The show, which included sculpture, painting, worked on the Advanced Course before in the late sixties setting film and performance, bridging up to 30 years provided a crucial up the radical experimental “Locked Room Course”. In 1973 he assessment of contemporary British sculpture and gave a unique left St Martin’s to set up the Environmental Media Department at insight into the development of each artist’s work. Artists were the Royal College of Art. He took early retirement in 1986. selected by Peter Kardia, and the exhibition was produced by Roderick Coyne and Michael Mazière with support from the artists.
To mark the exhibition, A&C Black published “From Floor to Sky: The Experience of the Art School Studio” with text by Hester Westley, Malcolm Le Grice and Peter Kardia. An evening discussion “Contemporary Teaching & Research Practice in the Visual Arts” took place at Tate Britain with a panel of speakers — Richard Deacon, Peter Kardia, Jean Matthee, Richard Wentworth and Malcolm Le Grice.
opposite left. Bill Woodrow, Untitled, two photographs, wood panels, wood, 185x198x190cm, 1970 opposite right. Bill Woodrow, Revelator 3, Bronze, 185x198x190cm, 2006.
58 left: Richard Deacon, Untitled, Wood, 122x214x102cm, 1977 right: Carl Plackman, Decoy, Sculpture, Mixed Media, 70x154x110cm, 2002 front: Richard Deacon, Siamese Metal, Steel, 176x220x133cm, 2008
Artists in From Floor to Sky: ALISON WILDING, BILL WOODROW, BOYD WEBB, RICHARD DEACON, RICHARD LONG RICHARD WENTWORTH, ROGER ACKLING, NIGEL SLIGHT, RODERICK COYNE, JOHN PANTING, CAROLYNE KARDIA, CARL PLACKMAN, ISMAIL SARAY JEAN MATHEE, TERRY NEW, MARTIN IVE, HAMISH FULTON, GILLIAN COOK, BRIAN CATLING, GUY MARTIN, PETER VENN, NINA DANINO, PAUL ETIENNE LINCOLN, KATHARINE MEYNELL, ROGER ACKLING, JOHN HILLIARD, IAN KIRKWOOD, KEITH BROWN, FRANCES EARNSHORE
60 back wall: Roderick Coyne, Wing Broken by Shadow, Mixed Media, 700x250cm, 1970 right: Alison Wilding, Untitled, 1974, Mixed Media, (now destroyed but remade 2010) front: Carl Plackman, Decoy, Sculpture, Mixed Media, 70x154x110cm, 2002
62 back wall: Richard Long, Day to Day, Wall piece, text, 2010 front: Ismail Saray, Air, 5 Oxygen cylinders 151 cm high, 1969
64 back wall: Nina Danino, Communion, 35mm black and white film, silent, High Definition Projection, 10 minutes 2010 front: Keith Brown, Clone Installation, wood, 1980-1982
66 06.04.10
JANNIS KOUNELLIS SPROVIERI GALLERY
68 Jannis Kounellis, K, Steel, Coal, Glass, 2010
70 A major exhibition of works by Kounellis including ‘K’ made for Starting his career as a painter, Kounellis still described his the Ambika P3 space. Funded by Henry Moore Foundation and practice as painting. His first paintings were exactly the size of one Sprovieri Gallery, co-ordinated by Judy Adam. of the walls in his house. Physical space then became his canvas and in this respect the actual making of his works also becomes Italian artist Jannis Kounellis, a key figure in international something of a performance, in which the space is articulated by contemporary art for over forty years created major new the placing of the objects within it. It is no surprise therefore that works, especially conceived for Ambika P3. Using the unique Kounellis works only within carefully selected spaces. characteristics offered by the spaces of Ambika P3 as his canvas, this major new exhibition, presented in collaboration Born in the Greek port of Piraeus in 1936, Kounellis has lived in with Sprovieri Gallery, was the first solo presentation by Rome since 1956. A key protagonist of Arte Povera, he is one of Kounellis in a public London space since the Whitechapel Art the world’s leading contemporary artists, with a career spanning Gallery exhibition in 1982. more than forty years. He has exhibited all over the world, and is represented in major museum collections internationally. His first Jannis Kounellis was initially associated with the Italian Arte exhibition in Rome, in 1960, was entitled Kounellis’ Alphabet. Povera of the late 1960s, a movement that tried to free art from Arising from a compositional relationship between living and inert the conventions, structures and the market place restrictions of materials, Kounellis’ new artistic language was intended to provoke the day, and also (through the nature of the materials used) to a critical attitude towards society and the creative process. He make an art much closer to the everyday life of people. In 1969 chose to substitute canvas with steel, to which he applied his he was made famous by a work he presented in Rome in which alphabet, made up, among other things, of fire, earth, coal, wool, he temporarily turned a gallery into a stable for twelve horses. plants, and living and dead animals. Since then, through his continued pushing of the boundaries of what is considered art, Kounellis has remained at the forefront of Since his earliest works Kounellis has charged certain signs developments in contemporary art. with metaphorical values and symbolic functions. Never restricting his ‘paintings’ to two dimensions, his works are While his works are perhaps best known for their frequently epic an integration of different artistic forms: painting, sculpture, scale, it is in the details of their making that they are at their most music, theatre and poetry. human. Always made from a gathering of everyday materials (such as wool, sacking, used clothing, old musical instruments or pieces Solo exhibitions by Kounellis at UK public venues since the of steel), when grouped together these disparate ingredients take Whitechapel Art Gallery in 1982 have included the Henry Moore on new meanings and associations. In one famous untitled work Studio, Dean Clough, Halifax 1991; Modern Art Oxford, 2004-5 from 1967, Kounellis cut a sheet of steel into the shape of a and a joint exhibition at Edinburgh College of Art and the Scottish flower, and inserted a gas flame at its centre – the hard, metallic National Gallery of Modern Art, Edinburgh. 2005. cold of the steel contrasting with the form of the inanimate flower, which in turn gave forth a hot, (life and death giving) lick of fire. In another piece from 2004, installed in a space filled with oriental carpets and covered by an army of falling steel crosses suggesting the encounter of two different cultures, he again contrasted the textures, strengths and uses of the materials, while reconnecting them to man through their histories.
72 74 76 78 Kounellis’ artistic language was intended to provoke a critical attitude towards society and the creative process
80 02.06.10
MEDIA, ARTS AND DESIGN DEGREE SHOWS 2010
Annual BA Degree exhibition of students from the Media, Arts and Design School of the University of Westminster.
Fashion Design BA Honours Mixed Media Fine Art BA Honours Graphic Information Design BA Honours Illustration BA Honours
82 18.06.10
LAND ARCHITECTURE PEOPLE
84 Land Architecture People was an exhibition which offered behind- They were complemented by drawings, pattern books, maquettes, the-scenes insights into how buildings are made – from the writings, photographs and films. Clare Melhuish specially mysterious rules and conditions of land ownership through to the interviewed a number of clients about their aims and aspirations symbiotic relationship between architect and client. Conceived for their projects and their relationship with the architect. by award-winning architects Pierre d’Avoine and Andrew Houlton Transcripts of the interviews were shown alongside photo portraits and anthropologist Clare Melhuish, the show dispels some of the of the clients, uniquely emphasizing the significance of the mystique around the architectural design process. relationship between the different players in the design process.
The exhibition explored the scope of the ‘one off’, as well as the Supported by the Royal Danish Academy of Fine Arts and School potential for repetition and serial production, both within and of Architecture of the University of Westminster. beyond the realm of domestic architecture. It showed a selection of built and unbuilt projects of different scales by Pierre d’Avoine Architects and Houlton Architects, including some collaborations. At the centre of the show was a striking group of twelve large floor- mounted architectural models.
86 Pierre d’Avoine Clare Melhuish Pierre d’Avoine is principal of Pierre d’Avoine Architects based Dr Clare Melhuish is Visiting Research Fellow in Anthropology in London. He practises internationally, with work currently on at Brunel University working on the study of the modern built site in Italy and Mozambique, where he is designing a crèche environment as social setting, and an architecture critic and for street children with Article 25. The practice is well known writer with a wide range of publications to her name. She was for innovative residential design. In November 2009 their house Reviews Editor of Building Design during the 1990s and ran the in Greenwich won the national Brick Development Association newly-founded cross-disciplinary journal Home Cultures (Berg) Refurbishment Award. Pierre is currently Velux Guest Professor from 2004 to 2008. She is co-author with Pierre d’Avoine of the at The Royal Danish Academy of Fine Arts School of Architecture influential bookHousey Housey: a Pattern Book of Ideal Homes in Copenhagen and external examiner and critic at several (2005) and collaborated with the practice on the exhibition of architecture schools in the UK and Europe. His work has been the same name at the RIBA that year as well as on a number of widely published and exhibited. other projects.
Andrew Houlton Andrew Houlton is principal of Houlton Architects based in London and was previously in partnership with Stephen Taylor as Houlton Taylor Architects.The practice has established a reputation designing for special needs environments and educational buildings for children. He is a CABE enabler (Commission for Architecture & the Built Environment) advising upon Children’s Centres and Schools. Andrew has taught and lectured at many schools of architecture and is now regularly invited as visiting critic in Britain and abroad. His work has been published internationally.
88 03.09.10
MA PHOTOGRAPHIC STUDIES
LIGHT SENSITIVE
The Light Sensitive graduate exhibition was curated by Elizabeth Upper, Arts Editor of Above Magazine, and the catalogue features essays by Laura Noble of the Diemar/Noble Photography Gallery and David Bate, Course Leader for the MA Photographic Studies course at University of Westminster.
90 14.10.10
SUNDAY is an international, gallery-led art fair showing a selection artwork from 20 young galleries, representing over 60 international artists at the fore of emerging talent. SUNDAY was organised by three participating galleries: Limoncello (London), Croy Neilsen (Berlin) and Tulips and Roses (Brussels). Sponsored by the Zabludowicz Collection.
Among the artists on show were: Jesse Ash, Edwina Ashton, Francesco Barocco, Michael Bauer, Luca Bertolo, Armin Boehm, Wolfgang Breuer, Sophie Bueno-Boutellier, Liudvikas Buklys, Nicolas Ceccaldi, Kit Craig, Gintaras Didžiapetris, Chris Evans, John Finneran, Zipora Fried, Aurélien Froment, Simon Fujiwara, Ryan Gander, Andy Holden, Judith Hopf, Takaaki Izumi, Jessica Jackson Hutchins, Thomas Kratz, Deborah Ligorio, Anissa Mack, David Mackintosh, Joseph Montgomery, Rosalind Nashashibi, Dominique Petitgand, Riccardo Previdi, Ruth Proctor, Matthew Smith, Jack Strange, Megan Francis Sullivan, The Hut Project, Richard Wilson, Richard Woods and Katarina Zdjelar.
Independent contemporary bookshop and publisher Aye Aye Books (Glasgow) and publishing house Archive Books (Berlin) were also at SUNDAY with a selection of journals and publications. The Zabludowicz Collection presented a selection of their sculptures, photographs and prints.
SUNDAY ART FAIR
92 09.12.10
TERRY FLAXTON
94 HIGH RESOLUTION MOVING IMAGE WORKS
A programme of new high resolution digital works by artist and Terry Flaxton cinematographer, Terry Flaxton. Highlights included the ‘World After 30 years in the UK industry as both cinematographer Portraits’ series shot in Beijing, Venice, Glastonbury, London and practicing artist, Flaxton currently holds the post of Senior and New York as well as selection of 16 installation works Research Fellow at Bristol University. Between 2007 and made worldwide. August 2010 he completed a Bristol University AHRC Senior Research Fellowship, ‘Time and Resolution: Experiments in The exhibition featured 12 High Definition works from single High Definition Image Making’. His research material has been screen to installation and represented one of the largest published in peer-reviewed publications and he has presented gatherings of high definition display, yet made in the UK (there papers in Europe, Asia and America at international conferences will be six 20 by 10 foot displays). Four major installation pieces and Universities as well as showing his work internationally. The were also showcased including the acclaimed ‘In Other People’s AHRC awarded him a Knowledge Transfer Fellowship which ran Skins’, experienced by audiences of over 300,000 people in from September 2010 to August 2012. locations as diverse as Xi-an Fine Art Academy in China, Vasteras Cathedral, Sweden and New York’s St.John the Divine Cathedral. The exhibition was supported by: Arts Council England, Arts A UK tour was funded by the Arts Council and was seen at eight and Humanities Research Council, The Centre for Research and cathedrals & Bath Abbey. This exhibition is the culmination of Education in Arts and Media (CREAM), South West Screen, three year’s work and investigation, and perfectly showcases University of Bristol, Watershed Media Centre Bristol, Somerset the nature of the high definition medium through the innovative County Council and Butcombe Beer. projection of Terry’s works.
To complement the exhibition, the Centre for Research and Education in Arts and Media (CREAM) hosted a programme of talks presented by academics and specialists focusing on the relationship between material and digital practice within the domain of Digital Art including Professor Steve Partridge, Dundee University; Dr Tony Dowmunt, Goldsmiths, University of London; Dr Richard Misek, Bristol University; Professor Chris Meigh Andrews, Lancaster University; Dr Steve Gibson, Northumbria University; Gary Thomas, Animate; Professor Chris Meigh Andrews, Lancaster University; Stephen Ball, Central St Martins; Dr Uriel Orlow, University of Westminster, John Wyver, University of Westminster.
96 left: Terry Flaxton. Silver Hands. Projection, 2010 right: Terry Flaxton, Portraits of the Somerset Carnivals, High Resolution Digital Installation, 2010
98 N A J
03 – 06.02.11 Kinetica Art Fair B E F
21 – 22.02.11 Fashion Week, Erdem
24.02 – 27.03.11 Anthony McCall R A M Vertical Works
28.03 – 01.05.11 R P A Deutsche Börse Photography Prize AY M
26.05.11 Fashion Design, BA Honours
04 – 06.06.11 Mixed Media Fine Art BA Honours
09 – 14.06.11 N U J Graphic Information Design, BA Honours & Illustration, BA Honours 2011 19 – 22.06.11 Contemporary Media Practice, BA Honours & Ceramics, BA Honours L U J
16.07 – 19.08.11 Architecture Club. 1960 – 2010 G U A
02 – 04.09.11 MA Photojournalism 08 – 12.09.11 MA Photographic Studies P E S
13 – 16.10.11 T C O Sunday Art Fair
29.10.11 Keith Lemon 03.11.11 Paul Khera, Adventures In Nightlife V O N
28 – 30.11.11 St Matthew Passion by Vocal Futures
09.12.11 C E D MAC 100 03.02.11
KINETICA ART FAIR The Kinetica art fair provides an international platform for museums, collectors, curators and the public to view and buy artworks in this thriving and advancing field. Alongside the fair there will be special events, screenings, tours, talks, workshops and performances. In 2011 these included performance by Stelarc and work by Jason Bruges Studio, Vincent Leclerc, Roseline De Thelin and Musion Academy
102 24.02.11
ANTHONY MCCALL VERTICAL WORKS SPRÜTH MAGERS GALLERY LONDON
104 Vertical Works was a new McCall’s work commissioned for Ambika P3 with Sprüth Magers Gallery London & Berlin. Internationally recognised for groundbreaking work which occupies a space between sculpture, cinema and drawing, British-born McCall trained at Ravensbourne College of Art & Design in the mid 1960s. Shortly afterwards, in the early 1970s, he began working with performance and film, initially through a series of open-air performances which were significant for their minimal use of elements such as fire.
On March 1, McCall gave an Artist’s talk in the Starr Auditorium of Tate Modern followed by the first showing of his just-completed Line Describing a Cone 2.0, the much anticipated digital re-make of his 16mm film Line Describing a Cone (1973).
106 McCall is known for his ‘solid-light’ installations, a series that he began in 1973 with his seminal “Line Describing a Cone,” in which a volumetric form composed of projected light slowly evolves in three- dimensional space. Working in a space between sculpture, cinema and drawing, his work’s historical importance has been internationally recognised. Solo exhibitions of McCall’s work include Centre Pompidou, Paris, 2004, Tate Britain, London, 2004, Institut d’Art Contemporain, Villeurbanne, France, (2006), Serpentine Gallery, London (2007-8), Hangar Bicocca, Milan (2009), and Moderna Museet, Stockholm (2009).
Since 2004 McCall has explored solid-light works that are oriented vertically projecting downwards from the ceiling onto the floor, forming 10-metre tall, conical ‘tents’ of light, with a base of about 4 metres. Here, the projected line-drawing on the floor is, quite literally, the footprint of the work, with the three-dimensional ‘body’ rising up from the floor and finally narrowing to a point at the lens of the projector, well-above one’s head. Four of these works, each of them showing in the UK for the first time, will be presented as a single installation. The works are Breath (2004), Breath III (2005), Meeting You Halfway (2009) and You (2010).
108 McCall gave an Artist’s talk at Ambika P3 about the Vertical Works
110 28.03.11
DEUTSCHE BÖRSE PHOTOGRAPHY PRIZE THE PHOTOGRAPHER’S GALLERY
112 The Deutsche Börse Photography Prize rewards one living modern Roe Ethridge was nominated for his solo exhibition at Les photographer, who has made the most significant contribution to Rencontres d’Arles 2010, France (3 July – 19 September 2010). the photographic medium in Europe over the previous year. The Blurring the boundaries of the commercial with the editorial, and Photographers’ Gallery in London created the prize in 1996 and the mundane with the highbrow, Ethridge’s conceptual approach to since 2005 Deutsche Börse has sponsored the event. The Prize photography is a playful attack on the traditions and conventions highlights the finest photographic works, showcasing fresh talents. of the medium itself.
Thomas Demand, Roe Ethridge, Jim Goldberg and Elad Lassry Jim Goldberg was nominated for his exhibition Open See at The were nominated for the Deutsche Börse Photography Prize 2011. Photographers’ Gallery, London (16 October 2009 – 31 January This selection, the fifteenth year of the Prize and the 40th 2010). Initiated through a Magnum commission, Open See anniversary of The Photographers’ Gallery, illustrated the diversity documents the experiences of refugee, immigrant and trafficked of the photographic medium, ranging from conceptual to social populations who travel from war torn, socially and economically documentary photography. devastated countries to make new lives in Europe.
Thomas Demand was nominated for his exhibition Nationalgalerie Elad Lassry was nominated for his exhibition Elad Lassry at at Neue Nationalgalerie, Berlin, Germany (18 September 2009 Kunsthalle Zürich, Switzerland (13 February – 25 April 2010). In – 17 January 2010), travelling to Boijmans van Beuningen, his seductive yet detached photographic and filmic works, Lassry Rotterdam, Netherlands (29 May – 22 August 2010). In this renders the over-familiar and clichéd, whether it be a kitten, an exhibition, Demand’s concise yet strangely unsettling images attractive model, lipsticks, a carton of eggs, peculiar. Drawing explore German social and political public life. Often using on analogue source material as inspiration, such as advertising photographs drawn from the media, Demand turns these scenes and stock imagery, Lassry’s over-saturated photographs are often into life-size and meticulously constructed three-dimensional collages of pre-existing images or newly staged studio photographs paper models, that he then photographs. alluding to the visual language of product photography..
114 This three-day conference organised by the Centre for Research and Education in Arts and Media (CREAM), University of EXHIBITING Westminster addressed issues central to the curation and display of photography; the relationship between galleries, contemporary art and documentary practices; the notion of influence on PHOTOGRAPHY photographic thought and practice; and the on-going obsession with photographic specificity in the art world. Speakers included Victor Burgin, John Stezaker, Jorge Ribalta, Hannah Collins, Marysia Lewandowska, Rut Blees Luxemburg and Simon Baker.
116 26.05.11
Annual BA Degree exhibition of students from the Media. Arts and Design School of the University of Westminster.
Fashion Design BA Honours Mixed Media Fine Art BA Honours MEDIA, ARTS AND Graphic Information Design BA Honours Illustration BA Honours Contemporary Media Practice BA Honours DESIGN DEGREE SHOWS Ceramics BA Honours
118 How We Met: Fabio Capello & Jannis Kounellis - Profiles, People - The Independent Page 1 of 2 SELECTED PRESS Jannis Kounellis at Ambika P3, review - Telegraph
A detail from Jannis Kounellis's installation at Ambika p3 By Alastair Sooke 5:25PM BST 10 May 2010 Jannis Kounellis is not especially well-known in Britain, but he is currently enjoying a deserved turn in the limelight in this country. He recently had a room devoted to his work at Tate Modern. Now, nearly three decades after his last London show, the eminent Greco-Italian painter, performance artist and sculptor, born in 1936, has created a sinister but immensely satisfying new installation for the echoing Ambika P3 exhibition space. It feels like an application for the annual Unilever commission in Tate Modern’s Turbine Hall. Ambika P3 is a 14,000 sq ft subterranean space once used as a concrete construction hall. It still has the atmosphere of an industrial workplace, full of pipes, wires and air-conditioning ducts that nobody thought it necessary to hide. It proves the perfect setting for Kounellis’s new work, presented by London’s Sprovieri Gallery.
The central installation consists of 12 large rectangular containers, each filled with chunky lumps of coal, and arranged in the shape of a large letter “K” (an autobiographical note, as well as a reference to the hapless, persecuted characters of Kafka’s novels). The sides of these receptacles are decorated with panels of empty wine bottles, in neat rows. Lashed to these are pieces of coarse sacking (Kounellis has made art using burlap sacks ever since he emerged as a leader of the Italian Arte Povera movement
in the late 1960s), and lots of crumpled, thick black overcoats. Impaled upon brutal butcher’s hooks, and tied down with thick metal cables, the coats are mangled, mutilated and crucified in ingeniously torturous ways.
At first it isn’t entirely clear that we are looking at a piece of sculpture. Kounellis uses the subtly changing hues of the green, sepia and silvery-transparent bottles in the same way that a painter manipulates pigment. The stark folds of the twisted, stretched
black fabric start to resemble splashy, expressionistic brushwork. But this isn’t a purely formal exercise: the coats have a vivid anthropomorphic quality, too. Skewered on those hooks, they feel like stand-ins for anonymous factory workers bent and oppressed by the capitalist machine. Indeed, the whole piece conjures an atmosphere of fossil fuel-powered heavy industry. This is a memorial to 20th-century manufacture, as well as a lamentation and a critique – recording the martyrdom, as it were, of the everyman. Nearby are several smaller works in the same vein (more black coats and wine bottles, plus the odd sewing machine), as well as a peachy-pink woman’s negligée strung up from another hook – an image as stinging as any of Goya’s “Disasters of War” prints, and evocative of the millions of innocents trampled by the mayhem and conflict of the 20th century. None of this, perhaps, is tremendously subtle. But, as art, it packs an undeniably powerful punch.
Until May 30. See www.p3exhibitions.com. How We Met: Fabio Capello & Jannis Kounellis - Profiles, People - The Independent Page 2 of 2
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http://www.independent.co.uk/news/people/profiles/how-we-met-fabio-capello--janni... 25/08/2010 EXH'IBITIONSI Anthony McCall talks about his exhibition of illuminating 'Solid Light' films Art: Column
salt authenticity. experimental film and art' at this time. A series of slides of From Floor to Sky Kardia taught or rather demanded - that his students interior fragments the comer ofa room, the top ofa dressing London 5March to 4 April grasp both the 'scientific and philosophic study of perception' table melt into each other as we listen to an audio account of and 'undertake a "study from in the traditional sense'. everyday encounters. This equivocation has haunted many of these artists' careers. The presence offemale voices is what really shakes things This exhibition is a tribute to the legacy of art educationalist Roderick Coyne's brilliantly austere early installation Wing up here. authority may have been well earned, but it is Peter Kardia, who taught at St Martin's School of Art in the Shadow, 1970, consists of a series of painted yellow distinctly patriarchal, progressivist and univocal. From the late 1960s and the Royal College of Art in the 1970S and lines like road markings - on the floor that have been 1970s, the influence ofLacan and a host offeminist and post- Kardia's pedagogic experiments indude the infamous 'Locked 'broken' by the dark shadow thrown by a spotlight hitting a structural thinkers would confront the watching eyes of the Room' at St Martin's, in which students were trapped in a structural column. However, Landscape, 2010 - a male gaze. Meynell's Diary, 1983, which incorporates pho- studio and left to fend for themselves with blocks of poly- large digital print of a landscape featuring some cyber-Iooking tographs and found objects (rank hair from the bath plug, styrene, sheets of brown paper or balls of string. Coercive and shapes superimposed on top - seems crudely dualistic in its dried clove buds), seeks to redirect the image of women's intimidating as this may have been, Kardia certainly impressed contrast between 'nature' and 'technology'. Terry New's earlier bodies away from the male gaze. Jean Matthee's sprawling his students with his erudite and questioning approach to art work, 1968, represented here by photographic docu- archive housed in vitrines, and her projected image of a time- education. former students have each selected and mentation, looks sleek and minimalist but his latest work, line, reveal a more de-centred approach to art, one that incor- contributed one early and one more recent work from their own 2009, has the ha1Imarks of a deeply conservative mysti- porates significant events and tragedies, including her sisters archives. A few have chosen to make new pieces (Nina Danino cism. Fulton's lively early work London 2 February 1967, 1967. a suicide and filmmaker and tutor Stuart Marshall's death from Anthony McCall with 'Vertcail Works' at P3 Ambika - Rob Greig and Kardia's wife Carolyne Kardia). Several re-present or photographic documentation of an organised walk in which a AIDS in 1993. In the book that accompanies this show, itselfa remake their graduation pieces (Guy Martin, Katharine group of students were tied together a corral with a piece of resource and insight into the art school experience ofthe Meynell, Alison Wilding and Danino). At least one is dead (Carl string and instructed to walk from the front entrance of St mid 1960s to late 70S, several artists praise Kardia with a hint By Helen Sumpter Posted: Fri Mar 4 2011 Plackman). Some are blue-chip artists (Richard Deacon, Martin's School on Charing Cross Road to 'the countryside', was ofawed reserve (Boyd Webb remembers Kardia as a 'fearsome, Richard Long, Richard Wentworth); others were largely a participatory group effort (Kardia appears in the image). His A laser-eyed truth seeker). Several artists here who are now As an expat avant garde filmmaker living in New York in the 1970s, Anthony McCall's movie-making unknown to me (Frances Earnshaw, Martin Ismail Saray). from the highest point North 20°3-°4, however, themselves teachers credit Kardia with influencing their own experiments culminated in a series of 'solid light' films that pared down the cinematic process to just light and SUdl disparities - as well as the sheer number of here - suggests a rather more indulgent sporting feat Nature, in many pedagogy John Hilliard notes his 1asting effect' on his work give the show the ofeither a belated degree show or a school ofthese works. seems to be a form ofsalvation. and teaching, and Calling states that Kardia 'laught me every- duration. When McCall projected simple animated sequences of lines and ellipses, either horizontally or reunion for the UK's baby boomer generation. Wentworth's lacomc approach to the natural world (and our thing 1needed to know about teaching by demonstrating the vertically, the effect of dust particles caught in the pyramidal light beam transformed the two-dimensional lines TIle most common concem here is a commitment to materi- human encounter with it) has aged better, with his just-so gnosis ofreflection'. Yet Cook described her experience as 'not into three-dimensional, shifting, gossamer planes and curves. After a two-decade hiatus from making art ality. The majority of the works are sculptural and viscerally pre- placement ofplaster rings around the base of trees in always comfortable', and Wilding remembers the RCA as between 1978-1998 McCall's return to his 'solid light' series has resulted in a renewed international interest in sent, although there are also interrnedia works that engage 1971, and South, 2010. a hooked walking stick hung high above being 'dominated by men'. We can be starry eyed about many with the physical world in more oblique ways. MarlY ofthe viewers' heads. Roger Ackling's subtly attractive works are the things from this period, but 1don't think the fearsome patri- his work, including a two-venue London exhibition featuring an installation of four vertical pieces at Ambika P3 works a by-now deeply unfashionable concern for nature. result of lines burnt with the aid of a magnifying glass on archy ofthe 1960s and 70s is something to be envied. and related drawings at Sprüth Magers. Deacon's early #1. 1971, is a gritty and gripping post-min- wooden surfaces. I had never seen them before, and their quiet work construc1ed from wooden bearns. Bill power knocked me back. In print, Gillian Cook's work sounds COLIN PERRY is a writer and critic. So, what made you leave the art world and then, after 20 years, come back? Woodrow's classic Untitled, is a witty fusion ofphotographic dull - she makes sculptures ofleaves and facsimiles of natural and sculptural elements in which an eviscerated branch is forms but when you encounter them, they are ghostly and 'One of the reasons why I stopped making the solid light films was that in the 1970s their visibility was dependent on propped on a photographic image ofwater lying on the floor, and affecting. Kardia's presence here could attenuate the lent an image ofa landscape hanging on the Brian not-sa-subtle overtones of nepotism that permeate this exhib- dust in the air, which you always had in good old grotty, downtown, New York loft spaces, plus there were always a Catling's Bowl, 1978, is an arrangement of steel parts ition. Indeed, the show gets its name from one of her works, few people smoking. But when I began showing in brand new museum spaces I discovered to my horror that the that bears a resemblance to a plough. More obviously, Long and From Floor to 2010. the work itselfis full oflue: works couldn't be seen. In the 1990s the invention of haze machines, which produce a fine translucent mist of From Floor to Sky Hamish Fulton have made entire careers from treading the it is a process piece that lasts the duration of the show, during microscopic water droplets, re-opened the way.' installation view meaning, some absent poetics or time the artist will create a tower made from great folded sheets ofplaster, After leaving St Martin's, Kardia was appointed head of It's interesting that after that gap your work is more likely to be described as installation than film, in the same Enviroumental Media at the Royal College of Art, a new depart- genre as Olafur Eliasson's Tate Turbine Hall 'Weather Project'… ment that sought to promote the use of new technologies such as film, video and sound. Martin Ive's video and photographic work is bonkers and brilliant: in his 1977 graduation perfor- 'That's true. My initial interest was very much about the medium of film and the cinematic problem of how to make a mance The Voice, Ive, dressed as a Japanese geisha, performed film which only exists at the moment of its projection. Having done that I gradually realised that I was also now bad impressions around Hyde Park. He has recycled the engaged with three-dimensional, volumetric space. When I took up the “Solid Light” works again in early 2000 it was performance into a series ofphoto works here: Mountain with the idea of sculptural rather than cinematic space, although the series can only be really understood as existing 2008, in which jocose self-referential text - 'the painting suf- somewhere between the two. In the 1970s it was an issue as to where this kind of work belonged. It was written about fered deep bouts of remorse' - overlaid on images ofkitsch Japanese-style landscapes. Paul Etienne lincoln's practice pre- as avant garde cinema, which I was perfectly happy with, but I felt that I was a conceptual artist working with film, dates Matthew Barney's explorations of the interplay between rather than a filmmaker. Now artists are not required to define what they do in terms of medium.The only issue is - is it myth, scientific endeavour and materiality. of Thought, interesting?' 1976-2006, documents the recreation ofthe Special, a motorcar constructed in 1976 in the middle ofthe first oil crisis whose engine was, lincoln claims, fuelled by a mixture oflin- Why choose these particular four vertical works to show at P3? seed oil, nitrous oxide and natural gas. More restrained, com- plex and elegiac was Damno's Memory, 1981, a work that 'My exhibition at the Serpentine Gallery in 2007 was all horizontal works but the experience of the vertical works is explores 'the woman's voice, which was a marginalised form in very different because their structure is almost tent-like and suggests chambers or rooms. It creates a sort of strange mutating architecture. I work with a very limited vocabulary of forms - lines, circles and waves and each of these four
20 3351 ART MONTHLY / 4.10 works involves two forms in some kind of exchange, such as a wave interacting with an ellipse or two ellipses interacting. Another reference is that the footprint of the works relates to the traditional cinematic screen ratio of 4:3. It J still all comes back to cinema.' You're also making a commission for the Cultural Olympiad in 2012 called 'Column'. Tell us about that… 'I'm collaborating with my friend, the scientist John McNulty, to create a 20-metre diameter column of spinning warm air, on a disused dock in Liverpool. It will rise 10 kilometres in the air, although you would need a very clear day to see that height. It's literally a column of cloud. I've talked a lot with John about my films and I've said wouldn't it be fantastic if one day we could not only shape the light but shape the mist. In a way it's the inverse of the projected vertical pieces. Those works are a question of projecting a column of light through ambient mist, whereas “Column” is a question of projecting a column of mist through ambient light.'
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By nick - Mar 12 2011
I went to this yesterday, there's a lovely fluid feel of the barely tangible within the tents. Also thought of the liquid wall between worlds in Stargate
Report 124 PHOTO CREDITS ACKNOWLEDGEMENTS
Photographs by War Games. Warehouse. Light Sensitive Volume 2 Staff Annette Hill 1st Year Architecture David Freeman 2009 – 11 Katharine Heron Andrew Houlton page 1, 125 Helen Ard Michael Mazière Inca Productions Paul Khera Sunday Art Fair This is one of four volumes, and in Niall Carter Gavin Jack Sustainability Andy Keate producing each one we have drawn on Heather Blair Ben Joiner pages 4 & 5 David Freeman all material available to us at Ambika P3, with Jannis Kounellis Michael Mazière, Helen Ard, Terry Flaxton and we apologise for those inevitable Martin Connolly Peter Kardia David Freeman, Clive Barda, Mag Launch Michael Mazière omissions, none of which was intended. I Christopher Marston Carolyne Kardia Jo Mieszkowski, Kate Elliot, Michael Mazière thank all those within the University who Marija Milosavljevic Kinetica Paul Khera, Andy Keate Kinetica have assisted us both in the production of Helen Ard Tony Langford Vauxhall Ice Skate David Freeman these volumes – the ongoing phenomenon James Lingwood Open City 2009 Helen Ard that is Ambika P3 – and that celebrates Board London Fashion Week Helen Ard Anthony McCall the University as a whole. And thank you Sally Feldman Malcolm Le Grice Kinetica Stephen White. Courtesy the Artist and Sprüth too, to all those outside the University who Jeremy Till Anthony McCall MA Photography David Freeman Magers Berlin London, Michael Mazière have supported us by use of the space Peter Roach Spruth Magers MA Photojournalism for creative commercial purposes, or in Mike Staples (chair) Claire Melhuish David Freeman From Floor to Sky Deutsche Börse Photography Prize partnering the many strands of our curated Roger Wyatt My Beautiful City Michael Mazière Kate Elliott programme. And our continuous thanks to Christian Newton Fashion Week Topshop. Courtesy The Photographers' Gallery students and external visitors who come And our special thanks to Natalie Newey Diesel Launch Jannis Kounellis to Ambika P3 for any one of a number of Judy Adam Karla Otto Helen Ard Michael Mazière, Paul Khera Media, Arts and reasons – there are on average 35,000 Mo Ali Open City Design Degree Shows individual visits per annum. And personal David Bate Topshop Sony Ericsson. Media, Arts and Degree Shows David Freeman thanks to my colleagues in Ambika P3, Stefanie Braun MAG Dance Umbrella. catwalking.com Heather, Niall and Michael, and designer Kate Burvill Brett Rogers Michael Mazière Paul Khera, for your imagination, loyalty David Campany Jonathan Samuels Land Architecture People and work beyond the call that sustains this Sam Collins Janette Scott David Ward Anna Chrystal Stephens lasting endeavour. KH Cow Events Nicholas Serota Michael Mazière, David Ward Roderick Coyne Niccolo Sprovieri Pierre d’Avoine The Sunshine Company Edited by Katharine Heron Diesel Sunday Art Fair and Michael Mazière. Erdem Victoria Thornton Designed by Paul Khera Sony Ericson Rosie Thomas Family Ltd Warehouse Terry Flaxton David Ward Murray Fraser Keith Watson Paul-Andrew Fortier Hester Westley Andrew Groves Andy Golding Peter Goodwin Liz Grob
126 P3, University of Westminster 35 Marylebone Road London NW1 5LS +44 (0) 20 7911 5876 www.p3exhibitions.com
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